What's a good windscreen for for Sennheiser MKH 60?

Jaime Valles

Jaime Valles

Veteran
If I'm shooting narrative film on an exterior location that could be windy, what kind of wind protection would work best for a Sennheiser MKH 60 shotgun microphone on a boom pole?

This one is very expensive:
https://www.bhphotovideo.com/c/prod...086001_Windshield_Kit_4.html/pageID/accessory

Is that overkill? Maybe something like these two combined would work most of the time?
https://www.bhphotovideo.com/c/product/850316-REG/auray_wss_2012_pro_matrixwindsheild_20mm_di.html
https://www.bhphotovideo.com/c/product/880280-REG/Rycote_041118_INV_8_Microphone_Suspension.html

I've used shotgun microphones in exteriors before, but not a full-on blimp windshield. Is the blimp worth the significant expense?

Thanks in advance!
 
I haven't used a blimp for many years now as they are really only needed in high winds or on sports productions.

There is also a budget option of the Rode blimp or the Rode WS softie and PG2 grip.

I personally use the Rode WS6 and the PG2 on all my short shotgun mics.

A high pass filter 80-100hz is also very useful to remove LF bumping.
 
The Rycote Invision shock mount is highly recommended. The (old & new) Rycote Softie is only adequate for a 'breezy day' but a Windjammer outer shield option is also available for a little extra suppression. I haven't used the Auray Softie knock off, but recall it's made in China (if that tells you anything) and at best, can only as good as the Rycote Softie (which I doubt). Personally I would not go to any exterior location without having a full Zepplin system available even if wind is not forecast.
 
Brandwise, I wouldn't go with Auray. I'd buy from a company that focuses on equipment for production sound. Over the years I've used and owned wind protection from a bunch of companies.

Rycote's website lets you search for all of their kit that fits a particular mic. Here are the results for the MKH60:
http://mymic.rycote.com/devices/mkh-60/

I currently own (and like) a modular Rycote WS4 Windshield system for my Sanken CS3e (and sometimes Sennheiser 416, though that doesn't see much use these days). I also have a Rycote Cyclone Small system that I use with my Schoeps MK41 (which I do sometimes use outdoors) and maybe a DPA 4017C if I buy one. The Cyclone's expensive (US$600) but really great...fantastic wind rejection, greatly transparent, nice cabling and mount to isolate the mic, and light. So far pretty rugged...

I only use softies that cover just part of the mic once in a while now. They work OK for news and doc stuff where I want to keep a slightly lower profile and want a slightly lighter pole AND where a bit of wind noise is allowed. But for narrative stuff (and all other times when I can), I really want something that rejects as much wind as possible and is as transparent as possible.

When working with mics the quality of the MKH60, why compromise your sound with something not as silent and transparent?

Since you're in NYC, maybe visit a good location-audio dealer and see what they have and recommend. For most (and perhaps all) of this stuff, they'll have prices basically the same as B&H but should have much more knowledgable staff. And in my experience buying from both of these two dealers remotely, they do:

https://www.gothamsound.com

http://www.pro-sound.com

There may be others worth visiting, but those are the two I know of from here on the west coast...

Also, consider if renting a top-quality microphone & windscreen or even whole audio kit makes sense. Again, being in NYC you have lots of solid options (I'd start with the two companies linked above). And if you need the stuff just for weekends or for a few weeks in a row, you'll probably qualify for discounts like this (lifted from Gotham's rental page):

Billing Days:
Weekends = 1 Billing Day
≤ 2 Weeks = 3 Billing Days per 7-day week
≥ 3 Weeks = 2 Billing Days per 7-day week


So if you're not working with a production sound gal or guy with their own kit and you really don't need to own all this stuff, do think about renting... Heck, I own tons of audio kit (since I do a fair amount of work as a production sound mixer), but I still rent items that I know I won't use often enough to justify owning.

Good luck!
 
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Spend the extra $ on a good blimp system. Due to inexperience I recorded a short documentary on a beach with just a softie on my NTG3 and I was barely able to save the footage. I ran out and bought the Rycote system OP linked to and haven't looked back. Trust me a blimp will save your bacon...
 
A blimp, actually a Zepplin because it has a rigid frame, puts your mic in still air that has the noise buster fur around the outside is the best. Next best is one of those foam things with the fur around it, the best have multi-length fur.

Even my cheap, made in India Zepp ($100) is a bit better than the foam things. Actually, I see nothing wrong with the frame (it is a copy of an older Rycote), but the fur cover on my Zepp is not much good (someday I will replace it). UP here in the mountains 50 mph winds are not that uncommon, so serious wind coverage is often needed. And, no, nothing is much good in 50mph winds.
 
All great feedback. I'll probably go with the Rode Blimp 2, since it seems like it's very similar to the Rycote Windshield 4 but significantly less expensive. And it still has the Rycote Lyre shockmount, which is crucial.

Thanks!
 
Ya, like I said above, I really like my Rycote Cyclone, the shield Dave links to here. And if the price seems high, just factor in that it's over $200 less expensive than a Cinela:
https://www.trewaudio.com/product/cinela-pia-1/

As to the Rode, I used their first-generation blimp and wasn't impressed. Actually shipped it back in the middle of a difficult road shoot so I wouldn't have to haul it along. But I hear the current generation is better. And ya, the Lyre suspensions is a good move. But also check how well the shield isolates cable noise. The Rycote Windshields, for example, use a little box to reduce transmission of that noise:

CONNBOX.jpg

I can't compare Rode's isolation just because I haven't used their current stuff. It might be fine, but it's worth checking out.

Also check the transparency of the shield and fuzzy cover(s). My Rycote Cyclone is really transparent (and yet rejects wind noise just fine). Cinela, too. My Rycote Windshield is very transparent (not completely, but totally fine, especially outside). How is the Rode? I don't know but do evaluate how much the shield muffles sound; not that hard to evaluate if you can get your hands on the systems.

Again, swing by your local NYC location-sound dealers. In my experience, those people don't try to upsell you to more expensive kit. in fact, I have experiences where sales people convinced me to buy less-expensive stuff. Seems like they play a long game: Earn customer loyalty so they keep buying from them. Or, and I say this not just because Dave Fisk and I are lightly acquainted, consider the advice of an online/distant reseller who really has location-audio experience and craft. Dave does; my sense is he'd give you his honest opinion of different shields. You might be able to get such advice at a box store, but I think you're less likely to find someone with the experience and willing to put in the time that you will elsewhere.

I'll now stop trying to convince you to spend more money, Jaime. Good luck!
 
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